Person: Dellmann, Sarah
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- BookImages of Dutchness: Popular Visual Culture, Early Cinema, and the Emergence of a National Cliché, 1800-1914Dellmann, Sarah (2018)Why do early films present the Netherlands as a country full of canals and windmills, where people wear traditional costumes and wooden shoes, while industries and modern urban life are all but absent? Where do such visual clichés come from? This study investigates the roots of this imagery in popular visual media ranging from magazines to tourist brochures, from anthropological treatises to advertising trade cards, stereoscopic photographs, picture postcards, magic lantern slide sets and films of early cinema. The book provides an in-depth study of this rich and fascinating corpus of popular visual media that has not been studied before, and the discourses that these images were meant to illustrate. This intermedial approach offers new insights into the emergence of national clichés and the study of stereotypical thinking.
- BookWiderspenstige Körper: Körper, Kino, Sprache und Subversion in Tod Brownings FREAKS und Filmen mit Lon ChaneyDellmann, Sarah (2009)Die Arbeit beschäftigt sich mit heute meist wenig bekannten Filmen des in den 1920er- und 1930er-Jahren sehr erfolgreichen Hollywoodregisseurs Tod Browning (THE UNHOLY THREE, 1925; THE BLACKBIRD, 1926; THE UNKNOWN, 1927; WEST OF ZANZIBAR, 1928; WHERE EAST IS EAST, 1929 und FREAKS, 1932). Sie resümiert die bisherige Rezeption und stellt den Zusammenhang von Tod Brownings Filmen zur Jahrmarkttradition her. Ausführlich wird Brownings bekanntester Film FREAKS analysiert.
- Book partTransfer als integrale Perspektive: Ein Erfahrungsbericht über "Creative Re-Use" - Projekte mit historischen GlasdiasDellmann, Sarah (2021)The project “A Million Pictures: Magic Lantern Slide Heritage as Artefacts in the Common European History of Learning (2015-2018)” investigated the use of lantern slides for educational purposes. It received funding from the European Joint Programming Initiative on Cultural Heritage. The call for proposals stipulated that the projects should benefit cultural institutions and academic research alike. One of the aims of the funding programme was to draw public attention to our shared cultural heritage through the creative reuse of historical objects. In this sense, knowledge transfer was not merely a subsequent “translation” of academic research, but an integral perspective in all phases of the research cycle. Using examples of “creative reuse” activities, this paper highlights the knowledge potential of object-based research beyond disciplinary and institutional boundaries and identifies factors for how such collaborative ventures can succeed.